news
This category contains the following articles
- New Museum - "Grief and Grievance: Art and Mourning in America"
- Feminist View of Pakistan: Umber Majeed is a Fellow of the New York Foundation for the Arts
- Painter. Rebel. Teacher. - K.H. H�dicke at the PalaisPopulaire
- Space Experiments: Seven artists versus architecture at the Hamburger Kunsthalle
- Deutsche Bank Collection Live - Meet the Artist
- 40 Years of the Deutsche Bank Collection - Christo & Jeanne-Claude: “The Gates (Project for Central Park, New York City)”, 2003
- 40 Years of the Deutsche Bank Collection - Katharina Grosse: "Untitled", 1992
- 40 Years of the Deutsche Bank Collection - Luigi Ghirri: "Porto Recanati", 1984
- The New York Art Fair Goes Online: Welcome to Frieze Viewing Room
- Silvia Lara wins the Deutsche Bank Frieze Los Angeles Film Award
- 40 Years of the Deutsche Bank Collection - Max Bill: Thought as Pure Form
- Grey Areas: Julie Mehretu Retrospective Opens at the Los Angeles County Museum of Art
40 Years of the Deutsche Bank Collection
Katharina Grosse: “Untitled”, 1992
Max
Bill’s twisted granite sculpture “Continuity,” Christo and
Jeanne-Claude’s installation "The Gates" in New York's Central Park,
Cao Fei’s vision of a virtual, futuristic setting in the middle of
nowhere: On a monthly basis, we show a work that represents a period of
contemporary history and reflects the Deutsche Bank Collection, which
is celebrating its 40th birthday this year.
Katharina Grosse
Untitled, 1992
� VG Bildkunst, Bonn 2020
Today Katharina Grosse is one of the world’s most important abstract painters. But when her work was purchased for the Deutsche Bank Collection back in the early 1990s, Grosse was still developing her formal vocabulary. With her abstract painting she entered a field dominated by men. She is inspired by the color field painting and analytical minimalism of U.S. artists such as Robert Ryman and Sol LeWitt, and by the work of G�nther F�rg, the German artist who reappraised the legacy of postwar modernism, including architecture.
Her striped picture examines color and space, surface and depth; while some of the luminous, glazed colors move forward, others push into the background. At the end of the 1990s, Grosse used a spray gun to penetrate real space, spraying her abstractions onto museum walls, facades, or heaps of soil, thus creating a kind of painting that goes beyond the scope of the “frame.”